9ENGLISH Part III
9 A Journey throughAnglo-American Literature English Learner’s Material This instructional material was collaboratively developed and re- viewed by educators from public and private schools, colleges, and/or universities. We encourage teachers and other education stakehold- ers to email their feedback, comments, and recommendations to the Department of Education at [email protected]. We value your feedback and recommendations. Department of Education Republic of the Philippines
A Journey through Anglo-American Literature – Grade 9English - Learner’s MaterialFirst Edition, 2014ISBN: 978-971-9601-77-7 Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Governmentof the Philippines. However, prior approval of the government agency or office wherein the work is createdshall be necessary for exploitation of such work for profit. Such agency or office may, among other things,impose as a condition the payment of royalties. Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trade- marks,etc.) included in this book are owned by their respective copyright holders. DepEd is represented by theFilipinas Copyright Licensing Society (FILCOLS), Inc. in seeking permission to use these materials fromtheir respective copyright owners. The publisher and authors do not represent nor claim ownership overthem.Published by the Department of EducationSecretary: Br. Armin A. Luistro FSCUndersecretary: Dina S. Ocampo, PhD Development Team of the Learner’s Material Authors: Liza R. Almonte, Lerma L. Flandez, Nedia Lagustan, Henone de Paz- Langutan, Dream Rose O. Malayo, Liberty A. Mangaluz, Elenita R. Miranda, Lito A. Palomar, Adelia Chua-Soliaban, and Grace Annette B. Soriano Consultants: Marla C. Papango and Edison A. Fermin, PhD Reviewers: Ruth A. Alido, Elizabeth V. Meneses, Rebecca Sagot, and Maricar T. Caberos Language Editor: Ma. Antoinette C. Montealegre, PhD Book Designer: Annie Lumbao, Visual Communication Depertment, UP College of Fine Arts Management Team: Dir. Jocelyn DR. Andaya, Jose D. Tuguinayo Jr., PhD, Melinda P. Rivera, PhD, Ricardo G. Ador Dionisio, and Peter Tentoco IIIPrinted in the Philippines by Vibal Group, Inc.Department of Education-Instructional Materials Council Secretariat (DepEd-IMCS)Office Address: 5th Floor Mabini Building, DepEd Complex Meralco Avenue, Pasig City,Telefax: Philippines 1600E-mail Address: (02) 634-1054 o 634-1072 [email protected]
TABLE OF CONTENTSMODULE 3 – Connecting to the World ��������������������������������������������233 Lesson 1: Through Technology �����������������������������������������������������������������������234 YOUR JOURNEY ����������������������������������������������������������������������������������������234 YOUR OBJECTIVES �����������������������������������������������������������������������������������234 YOUR INITIAL TASKS ������������������������������������������������������������������������������� 235 Task 1: Looking Up��������������������������������������������������������������������������������� 235 Task 2: Touching You, Touching Me�����������������������������������������������������236 Task 3: Linking Together �����������������������������������������������������������������������236 Task 4: Breaking Barriers ���������������������������������������������������������������������� 237 Task 5: Bonding Together����������������������������������������������������������������������238 Task 6: Extracting Information �������������������������������������������������������������239 YOUR TEXT Sorry, Wrong Number (A Radio Play) Task 7: Getting the Chill������������������������������������������������������������������������� 251 Task 8: Crossing Difficulties ������������������������������������������������������������������ 252 Task 9: Tuning In ����������������������������������������������������������������������������������� 252 Task 10: Delving Deeper ������������������������������������������������������������������������ 252 Task 11: Firming Up ������������������������������������������������������������������������������� 253 Task 12: Sounding Words Correctly������������������������������������������������������254 Task 13: Enjoying My Passion ��������������������������������������������������������������� 255 YOUR DISCOVERY TASKS Task 14: Getting into the World of Laughter and Tears ����������������������� 257 Task 15: Revisiting the Radio Play���������������������������������������������������������258 Task 16: Connecting Lives ���������������������������������������������������������������������258 YOUR FINAL TASK Task 17: Getting a Clear Picture�������������������������������������������������������������259 MY TREASURE�������������������������������������������������������������������������������������������260
Lesson 2: Making a Difference ������������������������������������������������������������������������ 261 YOUR JOURNEY ���������������������������������������������������������������������������������������� 261 YOUR OBJECTIVES ����������������������������������������������������������������������������������� 261 YOUR INITIAL TASKS �������������������������������������������������������������������������������262 Task 1: Promoting Advocacy������������������������������������������������������������������262 Task 2: Messaging Electronically ����������������������������������������������������������262 Task 3: Emulating Accomplished People����������������������������������������������263 Task 4: Considering Options �����������������������������������������������������������������264 Task 5: Figuring Out ������������������������������������������������������������������������������264 YOUR TEXT For Conversation, Press #1 (Michael Alvear) Task 6: Stimulating Responsibilities�����������������������������������������������������265 Task 7: Understanding the Text ������������������������������������������������������������266 Task 8: Enriching Your Experience������������������������������������������������������� 267 YOUR DISCOVERY TASKS Task 9: Recalling Events: Throwback Mode�����������������������������������������269 Task 10: Delving Deeper ������������������������������������������������������������������������269 Task 11: Firming Up �������������������������������������������������������������������������������270 Task 12: Enriching Your Experience �����������������������������������������������������270 Task 13: Sounding Words Correctly ������������������������������������������������������ 271 Task 14: Sharing My World ������������������������������������������������������������������� 272 Task 15: Going into the World of Acting ����������������������������������������������� 275 YOUR FINAL TASKS Task 16: Getting Immersed�������������������������������������������������������������������� 277 Task 17: Getting the Whole Picture ������������������������������������������������������� 279 MY TREASURE������������������������������������������������������������������������������������������ 280
Lesson 3: Despite Differences in Points of View������������������������������������������ 281 YOUR JOURNEY ���������������������������������������������������������������������������������������� 281 YOUR OBJECTIVES ����������������������������������������������������������������������������������� 281 YOUR INITIAL TASKS �������������������������������������������������������������������������������282 Task 1: Logic, Facts or Appeal ���������������������������������������������������������������282 Task 2: Be Wise ��������������������������������������������������������������������������������������282 Task 3: A Time for Us�����������������������������������������������������������������������������283 Task 4: Unscrambled the Letters�����������������������������������������������������������284 YOUR TEXT The Story of Romeo and Juliet (based on the play by William Shakespeare, as told by Bart Marks) Task 5: Search and Match����������������������������������������������������������������������285 Task 6: Making Connections �����������������������������������������������������������������292 Task 7: Connect and Kinect �������������������������������������������������������������������293 Task 8: Language in Use ������������������������������������������������������������������������295 Task 9: Act and Communicate���������������������������������������������������������������296 YOUR DISCOVERY TASK Task 10: Life’s Linkages �������������������������������������������������������������������������299 YOUR FINAL TASKS Task 11: Write Now�������������������������������������������������������������������������������� 300 Task 12: Lights Camera Action!������������������������������������������������������������� 301 MY TREASURE������������������������������������������������������������������������������������������� 301Lesson 4: With Fortitude and Determination ����������������������������������������������303 YOUR JOURNEY ����������������������������������������������������������������������������������������303 YOUR OBJECTIVES �����������������������������������������������������������������������������������303 YOUR INITIAL TASKS �������������������������������������������������������������������������������304 Task 1: Listen, Think, and React������������������������������������������������������������304 Task 2: Audience Point of View �������������������������������������������������������������304
YOUR TEXT Romeo and Juliet (William Shakespeare) Task 3: Factual Recount�������������������������������������������������������������������������309 Task 4: Sharing Interpretations ������������������������������������������������������������ 310 Task 5: Connecting with the Text �����������������������������������������������������������311 Task 6: Language at Work ��������������������������������������������������������������������� 314 Task 7: Speak Up ������������������������������������������������������������������������������������ 314 Task 8: Figure it Out ������������������������������������������������������������������������������ 318 Your Discovery Task Task 9: Shanty Craft������������������������������������������������������������������������������� 319 Task 10: Modern Revision ��������������������������������������������������������������������� 319 Task 11: A Twist �������������������������������������������������������������������������������������� 319 YOUR FINAL TASK Task 12: Get it on Paper �������������������������������������������������������������������������320 MY TREASURE ������������������������������������������������������������������������������������� 321Lesson 5: Across Time�������������������������������������������������������������������������������323YOUR JOURNEY ����������������������������������������������������������������������������������������������� 323 YOUR OBJECTIVES �����������������������������������������������������������������������������������323 YOUR INITIAL TASKS �������������������������������������������������������������������������������324 Task 1: Read On��������������������������������������������������������������������������������������324 Task 2: Tune In��������������������������������������������������������������������������������������� 325 YOUR TEXT Romeo and Juliet (William Shakespeare) Task 3: Think Through���������������������������������������������������������������������������338 Task 4: Talk Back �����������������������������������������������������������������������������������339 Task 5: Panel Forum �����������������������������������������������������������������������������339 Task 6: Grammar in Focus��������������������������������������������������������������������340 Task 7: Word-Hoard ������������������������������������������������������������������������������ 341 Task 8: Take Down Game����������������������������������������������������������������������342
YOUR DISCOVERY TASKS Task 9: SGD ��������������������������������������������������������������������������������������������343 YOUR FINAL TASK Task 10: Director’s Promptbook������������������������������������������������������������344 MY TREASURE������������������������������������������������������������������������������������������� 345Lesson 6: Despite Differences in Social Class����������������������������������������������� 347 YOUR JOURNEY ���������������������������������������������������������������������������������������� 347 YOUR OBJECTIVES ����������������������������������������������������������������������������������� 347 YOUR INITIAL TASKS �������������������������������������������������������������������������������348 Task 1: Activate Your Mind��������������������������������������������������������������������348 Task 2: Observe and Imitate������������������������������������������������������������������348 Task 3: Photo React��������������������������������������������������������������������������������349 Task 4: From Mind to Pictures: Share What You Know ���������������������� 351 YOUR TEXT While the Auto Waits by O. Henry (adapted for the stage by Walter Wykes) Task 5: What’s the Word������������������������������������������������������������������������ 359 Task 6: Recognizing Literary Device Characterization ������������������������360 Task 7: Play in Progress �������������������������������������������������������������������������360 Task 8: Plot Diagram �����������������������������������������������������������������������������362 Task 9: The O’ Henry Twist �������������������������������������������������������������������363 Task 10: Pair Work���������������������������������������������������������������������������������364 Task 11: Cartoon Talk����������������������������������������������������������������������������� 365 YOUR DISCOVERY TASKS Task 12: Connection with Oppression���������������������������������������������������366 Task 13: Social Class Exploration ����������������������������������������������������������366 Task 14: Silent Movie ����������������������������������������������������������������������������� 367 Task 15: Writing Your Own��������������������������������������������������������������������368
YOUR FINAL TASK Task 16: Writing a Character Sketch �����������������������������������������������������368 MY TREASURE�������������������������������������������������������������������������������������������370Lesson 7: Despite Racial Differences ��������������������������������������������������������������371 YOUR JOURNEY �����������������������������������������������������������������������������������������371 YOUR OBJECTIVES ������������������������������������������������������������������������������������371 YOUR INITIAL TASKS ������������������������������������������������������������������������������� 372 Task 1: Meet New Words ����������������������������������������������������������������������� 372 Task 2: Checkpoint��������������������������������������������������������������������������������� 373 Task 3: Look Who’s Talking?����������������������������������������������������������������� 374 YOUR TEXT Driving Miss Daisy – excerpt (Alfred Uhry) Task 4: Sequencing Events ��������������������������������������������������������������������390 Task 5: Character Traits������������������������������������������������������������������������� 391 Task 6: Bridging the Gap ����������������������������������������������������������������������� 391 Task 7: Hashtags – Level of Utterances ������������������������������������������������392 Task 8: Writer’s Block����������������������������������������������������������������������������392 Task 9: Learn Grammar�������������������������������������������������������������������������393 YOUR DISCOVERY TASKS Task 10: Getting Deeper������������������������������������������������������������������������� 395 Task 11: Memory Lane ��������������������������������������������������������������������������� 397 Task 12: Group Differentiated Task ������������������������������������������������������398 Task 13: Recognizing Literary Device ���������������������������������������������������398 YOUR FINAL TASK Task 14: Writing on Your Own ��������������������������������������������������������������399 MY TREASURE������������������������������������������������������������������������������������������ 400
Lesson 8: Transcending Differences �������������������������������������������������������������� 401 YOUR JOURNEY ���������������������������������������������������������������������������������������� 401 YOUR OBJECTIVES ����������������������������������������������������������������������������������� 401 YOUR INITIAL TASKS �������������������������������������������������������������������������������402 Task 1: Theater Vocabulary��������������������������������������������������������������������402 Task 2: Verbalize Your Thoughts ����������������������������������������������������������403 Task 3: Level Up �������������������������������������������������������������������������������������404 YOUR TEXT Driving Miss Daisy – Part II (Alfred Uhry) Task 4: Sequencing of Events ��������������������������������������������������������������� 408 Task 5: Establishing Links ���������������������������������������������������������������������409 Task 6: Revisit and Connect ������������������������������������������������������������������409 Task 7: Learn Grammar������������������������������������������������������������������������� 410 YOUR DISCOVERY TASKS Task 8: News in the Inbox ��������������������������������������������������������������������� 413 Task 9: Let’s Talk������������������������������������������������������������������������������������ 413 Task 10: Film Review ���������������������������������������������������������������������������� 415 Task 11: Recognizing Literary Device ��������������������������������������������������� 415 Task 12: Examples of Play Script����������������������������������������������������������� 417 Task 13: Driving Ms. Daisy, The Movie������������������������������������������������� 418 YOUR FINAL TASKS Task 14: Composing a Play Synopsis����������������������������������������������������� 418 Task 15: The Write and Act Stuff �����������������������������������������������������������420 MY TREASURE�������������������������������������������������������������������������������������������420
INTRODUCTION This learner’s material is specially designed to provide you roads to cooperative, col-laborative, and independent learning of the target themes, concepts, and competenciesthat will develop your 21st century real life-based skills. It is anchored on the generalprinciples, goals, and objectives of the K-12 Basic Education Program for junior high schoolthat centers on making you to a functionally literate individual. This learner’s material provides a variety of texts, particularly Anglo-American literarypieces that are both relevant and meaningful to your life. It offers opportunities for youto engage in varied, interesting, challenging, and meaningful tasks to further developand improve your listening, viewing, reading, speaking, writing, vocabulary, literary, andgrammar skills. The integration of literature and language skills will help deepen under-standing of how you can enrich and enhance your life through valuing the self, otherpeople’s lives, and the world. There are four modules in this learning material. Each module builds around a par-ticular text for you to explore meaningfully through engaging yourself in a variety ofintegrated, challenging, and interesting tasks. Module 1. Enhancing the Self Module 2. Valuing Others and Their Circumstances Module 3. Connecting to the World Module 4. Unchanging Values in a Changing World Each module consists of several lessons wherein each lesson is comprised of thefollowing parts: 1. Your Journey – provides an overview of what you should understand in the lesson. This includes clear directions and the purpose of the lesson. 2. Your Objectives – states the expectations in line with what you should know, understand, and be able to do, produce, or perform to show there is transfer of learning. 3. Your Initial Tasks – diagnoses and activates your prior knowledge and prepares you for higher level tasks. 4. Your Text – presents the main reading or literary text and the activities/ tasks that will lead you to acquire knowledge, make sense,of and construct meaning out of the information and experiences contained therein. xxvii
5. Your Discovery Tasks – includes activities that will expand, enrich, en- hance, and broaden your understanding of the target concepts and skills. 6. Your Final Task – presents the real life-based product or performance task as final output for the lesson that serves as evidence of understanding or transfer of learning of the target concepts and skills. This is an enabling task for the main real-life based product or performance task covering the entire module. 7. My Treasure – enables you to express your insights, learning, and reali- zations on the lesson. This part contains prompts and other graphic organizers that will help you sum up and synthesize what you have learned. This learner’s material includes formal pre – and post assessments by module inboth written response and multiple-choice formats. We hope that through this material, you will be provided with meaningful learn-ing experiences and relevant competencies necessary for you to successfully meet thedemands of the 21st century. xxviii
LESSON 1THROUGH TECHNOLOGY YOUR JOURNEY: Distance is being defied by information technology. Through this latest technology, you can virtually travel or reach other places and connect to people around the globe. Thus, you can transfer messages very fast through the primary means of communication—the telephone or cell phone. This lesson allows you to discover the extent to which you can connect to other people with different personalities and needs. Do you care to extend a lifeline to somebody in distress no matter how risky the situation? How else can you be a channel of hope for those in need? YOUR OBJECTIVES For you to answer these core questions, and for you to be on the right track of your journey, you have to realize the following: • analyze a one-act radio play • employ appropriate listening strategies suited to a one-act play • extract important information from argumentative/persuasive texts • produce the vowel sounds correctly 234
• analyze a radio play as a means of connecting to the world• be familiar with the technical terms and stage layout for drama and theater• recognize gerund and its uses• identify features of a one-act play• explain how the elements specific to a one-act play contribute to the development of its theme• enhance experience through the library’s information sources YOUR INITIAL TASKSTASK 1. Looking UpHow do you respond to an emergency situation? Whom do you call for help?For each critical situation below, indicate your life-saving solution. Cite youropinion for giving such a solution. Critical situation Life-saving solution1. Your neighbor’s house is on fire.2. A woman’s purse is snatched in front of you inside a jeepney.3. Somebody in fear and in panic calls on your cell phone asking for your help.4. Your mother complains of dizziness and falls to the ground unconscious.5. A hazardous chemical in the Chemis- try Lab spills producing smoke and a suffocating scent.235
TASK 2. Touching You, Touching Me View this Power Point slides (to be presented by your teacher) and respond to it by interpreting the meaning expressed in the song excerpt “Take That-Reach Out.”Slide 1 _____________________________________________________________________ _____________________________________________________________________Slide 2 _____________________________________________________________________ _____________________________________________________________________Slide 3 _____________________________________________________________________ _____________________________________________________________________Slide 4 _____________________________________________________________________ _____________________________________________________________________Slide 5 _____________________________________________________________________ _____________________________________________________________________ TASK 3. Linking Together 1. What is your most important use of a cell phone? Have you used it to call for help? 2. The word maze contains three sets of synonymous words. Write beside each other the words with almost the same meaning. 236
amble drowsing appreciationrunning credit slow walk sleepingTASK 4 Breaking BarriersReading of the text:Listen carefully as your teacher reads the poem, “The Telephone” by EdwardField. Then, read it with your classmates The Telephone by Edward Field My happiness depends on an electric appliance And I do not mind giving it so much credit With life in this city being what it is Each person separated from friends By a tangle of subways and buses Yes my telephone is my joy It tells me that I am in the world and wanted It rings and I am alerted to love or gossip I go comb my hair which begins to sparkle Without it I was like a bear in a cave Drowsing through a shadowy winter It rings and spring has come I stretch and amble out into the sunshine Hungry again as I pick up the receiver For the human voice and the good news of friends The Telephone by Edward Field, from Counting Myself Lucky. © Black Sparrow Press, 1992. 237
TASK 5 Bonding TogetherStudents work in groups of 7 to 10 to discuss the message of the poem.Group 1 Gratitude My happiness depends on an electric appliance. And I do not mind giving it so much credit. Guide questions: What is the predominant feeling of the speaker in these lines? Why does he feel that way?Group 2 Obstacle With life in this city being what it is Each person separated from friends By a tangle of subways and buses Guide question: Why are friends disconnected?Group 3 Pleasure Yes my telephone is my joy It tells me that I am in the world and wanted It rings and I am alerted to love or gossip I go comb my hair which begins to sparkle Guide question: How does the speaker justify his joy of having a telephone?Group 4 Spring Without it I was like a bear in a cave Drowsing through a shadowy winter It rings and spring has come Guide questions: a. To what does the speaker compare man’s situation before the advent of the telephone? 238
b. What value do people give to the telephone when he has the access to it? c. What literary device is used here?Group 5 Connection I stretch and amble out into the sunshine Hungry again as I pick up the receiver For the human voice and the good news of friends Guide questions: What does the speaker hunger for? Is he capable of connecting to the world? Explain.TASK 6 Extracting Information Through technology, you are able to read, watch to, and listen to a lot ofinformation. These information may influence you to believe certain ideas andpush you to take some form of action. Some information may also dissuade youfrom believing or doing other things. Many writers use argumentative texts to persuade the readers to agreeto their points of view. Writers do so, not just by presenting information, butby showing the pros and cons of an issue. In extracting information from an ar-gumentative text, you must be able to note the issue and the supporting (pros)and opposing (cons) opinions about the issue.TOPIC:___________________________________________________Reasons DetailsProcessing the information:1. What are the reasons for not allowing students to bring mobile phones to school?2. What facts are used to support the argument? Are these convincing?3. Do you agree with the writer?4. What kind of writing is this? 239
YOUR TEXT Sorry, Wrong Number (A Radio Play) by Lucille FletcheCAST Sergeant DuffyMrs. Stevenson Third OperatorOperator Woman at Henchley HospitalFirst Man Western Union ClerkSecond Man (George) Information OperatorChief OperatorSecond Operator(Sound: Number being dialed on phone; busy signal.)Mrs. Stevenson: (a querulous, self-centered neurotic) Oh—dear! (Slams down receiver. Dials Operator. )Operator: Your call, please?Mrs. Stevenson: Operator? I’ve been dialing Murray Hill 4-0098 now for the last three-quarters of an hour, and the line is always busy. But I don’t see how it could be busy that long. Will you try it for me, please?Operator: Murray Hill 4-0098? One moment, please.Mrs. Stevenson: I don’t see how it could be busy all the time. It’s my husband’s office. He’s working late tonight, and I’m all alone here in the house. My health is very poor—and I’ve been feeling so nervous all day—Operator: Ringing Murray Hill 4-0098. (Sound: Phone buzz. It rings three times. Receiver is picked up at the other end.)Man: Hello.Mrs. Stevenson: Hello? (a little puzzled) Hello. (louder) Hello. 240
Man: (into phone, as though he had not heard) Hello. (louder) Hello.Second Man: (slow, heavy quality, faintly foreign accent) Hello.First Man: Hello. George?George: Yes, sir.Mrs. Stevenson: (louder and more imperious, to phone) Hello. Who’s this? What number am I calling, please?First Man: We have heard from our client. He says the coast is clear for tonight.George: Yes, sir.First Man: Where are you now?George: In a phone booth.First Man: Okay. You know the address. At eleven o’clock the private patrolman goes around to the bar on Second Avenue for a beer. Be sure that all the lights downstairs are out. There should be only one light visible from the street. At eleven fifteen a subway train crosses the bridge. It makes a noise in case her window is open and she should scream.Mrs. Stevenson: (shocked) Oh—hello! What number is this, please?George: Okay, I understand.First Man: Make it quick. As little blood as possible. Our client does not wish to make her suffer long.George: A knife okay, sir?First Man: Yes, a knife will be okay. And remember—remove the rings and bracelets, and the jewelry in the bureau drawer. Our client wishes it to look like simple robbery.George: Okay, I get— (sound: a bland buzzing signal)Mrs. Stevenson: (clicking phone) Oh! (Bland buzzing signal continues. She hangs up.) How awful! How unspeakably— (sound of dialing; phone buzz)Operator: Your call, Please?Mrs. Stevenson. (unnerved and breathless, into phone) Operator, I—I’ve just been cut off.Operator: I’m sorry, madam. What number were you calling? 241
Mrs. Stevenson: Why—It was supposed to be Murray Hill 4-0098, but it wasn’t. Some wires must have crossed—I was cut into a wrong number—and—I’ve just heard the most dreadful thing—-a—a mur- der—and— (imperiously) Operator, you’ll simply have to retrace that call at once.Operator: I beg your pardon, madam—I don’t quite—Mrs. Stevenson: Oh—I know it was a wrong number, and I had no busi- ness listening—but these two men—they were cold-blooded fiends— some poor innocent woman—who was all alone—in a house near a bridge. And we’ve got to stop them—we’ve got to—Operator: (patiently) What number were you calling, madam?Mrs. Stevenson: That doesn’t matter. This was a wrong number. And you dialed it. And we’ve got to find out what it was—immediately!Operator: But—madam—Mrs. Stevenson: Oh, why are you so stupid? Look it was obviously a case of some little slip of the finger. I told you to try Murray Hill 4-0098 for me—you dialed it—but your finger must have slipped—and I was connected with some other number—and I could hear them, but they couldn’t hear me. Now, I simply fail to see why you couldn’t make that same mistake again—on purpose—why you couldn’t try to dial Murray Hill 4-0098 in the same careless sort of way—Operator: (quickly) Murray Hill 4-0098? I will try to get it for you, madam.Mrs. Stevenson: (sarcastically) Thank you. (sound of ringing, busy signal)Operator: I am sorry. Murray Hill 4-0098 is busy.Mrs. Stevenson: (frantically clicking receiver) Operator. Operator.Operator: . Yes, madam.Mrs. Stevenson: (angrily) You didn’t try to get that wrong number at all. I asked explicitly. And all you did was dial correctly.Operator: I am sorry. What number were you calling?Mrs. Stevenson: Can’t you, for once, forget what number I was calling, and do something specific? Now I want to trace that call. It’s my civic duty—it’s your civic duty—to trace that call—and to apprehend those dangerous killers—and if you won’t—Operator: . I will connect you with the Chief Operator. 242
Mrs. Stevenson: Please!(sound of ringing)Chief Operator: (coolly and professionally) This is the Chief Operator.Mrs. Stevenson: Chief Operator? I want you to trace a call. A telephone call. Immediately. I don’t know where it came from, or who was mak- ing it, but it’s absolutely necessary that it be tracked down. Because it was about a murder. Yes, a terrible cold-blooded murder of a poor innocent woman—tonight—at eleven fifteen.Chief Operator: I see.Mrs. Stevenson: (high-strung, demanding) Can you trace it for me? Can you track down those men?Chief Operator: It depends, madam.Mrs. Stevenson: Depends on what?Chief Operator: It depends on whether the call is still going on. If it’s a live call, we can trace it on the equipment. If it’s been disconnected, we can’t.Mrs. Stevenson: Disconnected!Chief Operator: If the parties stopped talking to each other.Mrs. Stevenson: Oh—but—but of course they must have stopped talking to each other by now. That was at least five minutes ago—and they didn’t sound like the type who would make a long call.Chief Operator: Well, I can try tracing it. Now—what is your name, madam?Mrs. Stevenson: Mrs. Stevenson. Mrs. Elbert Stevenson. But—listen—Chief Operator: (writing it down) And your telephone number?Mrs. Stevenson: (more irritated) Plaza 4-2295. But if you go on wasting all this time--Chief Operator: And what is your reason for wanting this call traced?Mrs. Stevenson: My reason? Well—for heaven’s sake—isn’t it obvious? I overheard two men—they’re killers—they’re planning to murder this woman—it’s a matter for the police.Chief Operator: Have you told the police?Mrs. Stevenson: No. How could I?Chief Operator: You’re making this check into a private call purely as a private individual?Mrs. Stevenson: Yes. But meanwhile— 243
Chief Operator: Well, Mrs. Stevenson—I seriously doubt whether we could make this check for you at this time just on your say-so as a private individual. We’d have to have something more official.Mrs. Stevenson: Oh, for heaven’s sake! You mean to tell me I can’t report a murder without getting tied up in all this red tape? Why, it’s perfectly idiotic. All right, then, I will call the police. (She slams down receiver) Ridiculous! (sound of dialing)Second Operator: Your call, please?Mrs. Stevenson: (very annoyed) The Police Department—please.Second Operator: Ringing the Police Department.(Rings twice. Phone is picked up.)Sergeant Duffy: Police Department. Precinct 43. Duffy speaking.Mrs. Stevenson: Police Department? Oh. This is Mrs. Stevenson—Mrs. Elbert Smythe Stevenson of 53 North Sutton Place. I’m calling to report a murder.Sergeant Duffy: Eh?Mrs. Stevenson: I mean— the murder hasn’t been committed yet. I just overheard plans for it over the telephone… over wrong number that the operator gave me. I’ve been trying to trace down the call myself, but everybody is so stupid—and I guess in the end you’re the only people who could do anything.Duffy: (not too impressed) Yes, ma’am.Mrs. Stevenson: (trying to impress him) It was a perfectly definite murder. I heard their plans distinctly. Two men were talking and they were going to murder some woman at eleven fifteen tonight—she lived in a house near a bridge.Duffy: Yes ma‘am.Mrs. Stevenson: And there was a private patrolman on the street. He was going to go around for a beer on second Avenue. And there was some third man–a client–who was paying to have this poor woman murdered–They were going to take her rings and bracelets—and use a knife— Well, it’s unnerved me dreadfully— and I’m not well—Duffy: I see. When was all this, ma’am?Mrs. Stevenson: About eight minutes ago. Oh…(relieved) then you can do something? You do understand—Duffy: And what is your name, ma’am? 244
Mrs. Stevenson: (impatiently) Mrs. Stevenson. Mrs. Elbert Stevenson.Duffy: And your address?Mrs. Stevenson: 53 North Sutton Place. That’s near a bridge, the Queensborough Bridge, you know—and we have a private patrolman on our street—and Second Avenue—Duffy: And what was that number you were calling?Mrs. Stevenson: Murray Hill 4-0098. But –-that wasn’t the number I overheard. I mean Murray Hill 4-0098 is my husband’s office. He’s working late tonight, and I was trying to reach him to ask him to come home. I’m an invalid, you know— and it’s the maid’s night off—and I hate to be alone— even though he says I’m perfectly safe as long as I have the telephone right beside my bed.Duffy: (stolidly) Well, we’ll look into it Mrs. Stevenson, and see if we can check it with the telephone company.Mrs. Stevenson: (getting impatient) But the telephone company said they couldn’t check the call if the parties had stopped talking. I’ve taken care of that.Duffy: Oh, yes?Mrs. Stevenson: (highhanded) Personally I feel you ought to do some- thing far more immediate and drastic than just check the call. What good does checking the call do, if they’ve stopped talking? By the time you track it down, they’ll already have committed the murder.Duffy: Well, we’ll take care of it, lady. Don’t worry.Mrs. Stevenson: I’d say the whole thing calls for a search—a complete and thorough search of the whole city. I’m very near a bridge, and I’m not far from Second Avenue. And I know I’d feel a whole lot better if you sent a radio car to this neighborhood at once.Duffy: And what makes you think the murder’s going to be committed in your neighborhood, ma’am?Mrs. Stevenson: Oh, I don’t know. This coincidence is so horrible. Second Avenue—the patrolman—the bridge—Duffy: Second Avenue is a long street, ma’am. And do you happen to know how many bridges there are in the city of New York alone? Not to mention Brooklyn, Staten Island, Queens, and the Bronx? And how do you know there isn’t some little house out on Staten Island—on some little Second Avenue you’ve never heard about? How do you know they were even talking about New York at all? 245
Mrs. Stevenson: But I heard the call on the New York dialing system.Duffy: How do you know it wasn’t a long-distance call you overheard? Telephones are funny things. Look, lady, why don’t you look at it this way? Supposing you hadn’t broken in on that telephone call? Supposing you’d got your husband the way you always do? Would this murder have made any difference to you then?Mrs. Stevenson: I suppose not. But it’s so inhuman—so cold-blooded—Duffy: A lot of murders are committed in this city every day, ma’am. If we could do something to stop ‘em, we would. But a clue of this kind that’s so vague isn’t much more use to us than no clue at all.Mrs. Stevenson: But surely—Duffy: Unless, of course, you have some reason for thinking this call is phony—and that someone may be planning to murder you?Mrs. Stevenson: Me? Oh, no, I hardly think so. I—I mean— why should anybody? I’m alone all day and night—I see nobody except my maid Eloise—she’s a big two-hundred pounder—she’s too lazy to bring up my breakfast tray—and the only other person is my husband Elbert—he’s crazy about me—adores me—waits on me hand and foot—he’s scarcely left my side since I took sick twelve years ago—Duffy: Well, then, there’s nothing for you to worry about, is there? And now, if you’ll just leave the rest to us--Mrs. Stevenson: But what will you do? It’s so late—it’s nearly eleven o’clock.Duffy: (firmly) We’ll take care of it, lady.Mrs. Stevenson: Will you broadcast it all over the city? And send out squads? And warn your radio cars to watch out—especially in suspi- cious neighborhoods like mine?Duffy: (more firmly) Lady, I said we’d take care of it. Just now I’ve got a couple of other matters here on my desk that require my immediate—Mrs. Stevenson: Oh! (She slams down receiver hard.) Idiot. (looking at phone nervously) Now, why did I do that? Now he’ll think I am a fool. Oh, why doesn’t Elbert come home?Why doesn’t he? (sound of dialing operator)Operator: Your call, please?Mrs. Stevenson: Operator, for heaven’s sake, will you ring that Murray Hill 4-0098 again? I can’t think what’s keeping him so long. 246
Operator: Ringing Murray Hill 4-0098. (Rings. Busy signal) The line is busy. Shall I—Mrs. Stevenson: (nastily) I can’t hear it. You don’t have to tell me. I know it’s busy. (slams down receiver) If I could only get out of this bed for a little while. If I could get a breath of fresh air—or just lean out the window—and see the street—(The phone rings. She darts for it instantly.) Hello. Elbert? Hello. Hello. Hello. Oh, what’s the matter with this phone? Hello? Hello? (slams down receiver) (The phone rings again, once. She picks it up.) Hello? Hello—Oh, for heaven’s sake, who is this? Hello. Hello. Hello. (slams down receiver. Dials operator.)Third Operator: Your call, please?Mrs. Stevenson: (very annoyed and imperious) Hello, operator. I don’t know what’s the matter with this telephone tonight, but it’s positively driving me crazy. I’ve never seen such inefficient, miserable service. Now, look. I’m an invalid, and I’m very nervous, and I’m not supposed to be annoyed. But if this keeps on much longer—Third Operator: (a young sweet type) What seems to be the trouble, madam?Mrs. Stevenson: Well, everything’s wrong. The whole world could be murdered, for all you people care. And now, my phone keeps ringing—Operator: Yes, madam?Mrs. Stevenson: Ringing and ringing and ringing every five seconds or so, and when I pick it up, there’s no one there.Operator: I’m sorry, madam. If you will hang up, I will test it for you.Mrs. Stevenson: I don’t want you to test it for me. I want you to put through that call—whatever it is –at once.Operator: (gently) I am afraid that is not possible, madam.Mrs. Stevenson: (storming) Not possible? And why, may I ask?Operator: The system is automatic, madam. If someone is trying to dial your number, there is no way to check whether the call is coming through the system or not—unless the person who is trying to reach you complains to his particular operator—Mrs. Stevenson: Well, of all the stupid, complicated--! And meanwhile I’ve got to sit here in my bed, suffering every time that phone rings, imagining everything—Operator: I will try to check it for you, madam. 247
Mrs. Stevenson: Check it! Check it! That’s all anybody can do. Of all the stupid, idiotic…! (She hangs up) Oh—what’s the use…(Instantly Mrs. Stevenson’s phone rings again. She picks up the receiver. Wildly.) Hello, HELLO. Stop ringing, do you hear me? Answer me? What do you want? Do you realize you’re driving me crazy? Stark, staring—Man: (dull, flat voice) Hello. Is this Plaza 4-2295?Mrs. Stevenson: (Catching her breath) Yes. Yes. This is Plaza 4-2295.Man: This is Western Union. I have a telegram here for Mrs. Elbert Ste- venson. Is there anyone there to receive the message?Mrs. Stevenson: (trying to calm herself) I am Mrs. Stevenson.Western Union: (reading flatly) The telegram is as follows: “Mrs. El- bert Stevenson. 53 North Sutton Place, New York, New York. Darling. Terribly sorry. Tried to get you for last hour, but line busy. Leaving for Boston 11 P.M. tonight on urgent business. Back tomorrow afternoon. Keep happy. Love. Signed, Elbert.Mrs. Stevenson: (breathing, aghast to herself) Oh—no—Western Union: That is all, madam. Do you wish us to deliver a copy of the message?Mrs. Stevenson: No—no, thank you.Western Union: Thank you, madam. Good night. (He hangs up phone.)Mrs. Stevenson: (mechanically, to phone) Good night. (She hangs up slowly, suddenly bursting into tears.) No—no—it isn’t true! He couldn’t do it. Not when he knows I’ll be all alone. It’s some trick— some fiendish—(She dials operator.)Operator: (coolly) Your call, please?Mrs. Stevenson: Operator—try that Murray Hill 4-0098 number for me just once more, please.Operator: Ringing Murray Hill 4-0098 (Call goes through. We hear ringing at the other end. Ring after ring.)Mrs. Stevenson: He’s gone. Oh, Elbert, how could you? How could you—? (She hangs up phone, sobbing pityingly to herself, turning restlessly.) But I can’t be alone tonight. I can’t. If I’m alone one more second—I don’t care what he says—or what the expense is—I’m a sick woman—I’m entitled—(She dials Information.)Information: This is Information. 248
Mrs. Stevenson: I want the telephone number of Henchley Hospital.Information: Henchley Hospital? Do you have the address, madam?Mrs. Stevenson: No. It’s somewhere in the seventies, though. It’s a very small, private, and exclusive hospital where I had my appendix out two years ago. Henchley, H-E-N-C--Information: One moment, please.Mrs. Stevenson: Please—hurry. And please—what is the time?Information: I do not know, madam. You may find out the time by dialing Meridian 7-1212.Mrs. Stevenson: (Irritated) Oh, for heaven’s sake! Couldn’t you--?Information: The number of Henchley Hospital is Butterfield 7-0105, madam.Mrs. Stevenson: Butterfield 7-0105. (She hangs up before she finishes speaking, and immediately dials number as she repeats it.) (Phone rings.)Woman: (middle-aged, solid, firm, practical) Henchley Hospital, good evening.Mrs. Stevenson: Nurses’ Registry.Woman: Who was it you wished to speak to, please?Mrs. Stevenson: (highhanded) I want the Nurses’ Registry at once. I want a trained nurse. I want to hire her immediately. For the night.Woman: I see. And what is the nature of the case, madam?Mrs. Stevenson: Nerves. I’m very nervous. I need soothing—and com- panionship. My husband is away-- and I’m—Woman: Have you been recommended to us by any doctor in particular, madam?Mrs. Stevenson: No. But I really don’t see why all this catechizing is necessary. I want a trained nurse. I was a patient in your hospital two years ago. And after all, I do expect to pay this person—Woman: We quite understand that, madam. But registered nurses are very scarce just now—and our superintendent has asked us to send people out only on cases where the physician in charge feels it is ab- solutely necessary.Mrs. Stevenson: (growing hysterical) Well, it is absolutely necessary. 249
I’m a sick woman. I–-I’m very upset. Very. I’m alone in this house— and I’m an invalid and tonight I overheard a telephone conversation that upset me dreadfully. About a murder—a poor woman who was going to be murdered at eleven fifteen tonight—in fact, if someone doesn’t come at once— I’m afraid I’ll go out of my mind (almost off handle by now)Woman: (calmly) I see. Well, I’ll speak to Miss Phillips as soon as she comes in. And what is your name, madam?Mrs. Stevenson: Miss Phillips. And when do you expect her in?Woman: I really don’t know, madam. She went out to supper at eleven o’clock.Mrs. Stevenson: Eleven o’clock. But it’s not eleven yet. (She cries out.) Oh, my clock has stopped. I thought it was running down. What time is it?Woman: Just fourteen minutes past eleven. (Sound of phone receiver being lifted on same line as Mrs. Steven- son’s. A click.)Mrs. Stevenson: (crying out) What’s that?Woman: What was what, madam?Mrs. Stevenson: That—that click just now—in my own telephone? As though someone had lifted the receiver off the hook of the extension phone downstairs—Woman: I didn’t hear it, madam. Now—about this—Mrs. Stevenson: (scared) But I did. There’s someone in this house. Someone downstairs in the kitchen. And they’re listening to me now. They’re—Hangs up phone. In a suffocated voice.) I won’t pick it up. I won’t let them hear me. I’ll be quiet—and they’ll think—(with grow- ing terror) But if I don’t call someone now—while they’re still down there—there’ll be no time. (She picks up receiver. Bland buzzing sig- nal. She dials operator. Ring twice.)Operator: (fat and lethargic) Your call, please?Mrs. Stevenson: (a desperate whisper) Operator, I—I’m in desperate trouble—I—Operator: I cannot hear you, madam. Please speak louder.Mrs. Stevenson: (Still whispering) I don’t dare. I—there’s someone listening. Can you hear me now? 250
Operator: Your call, please? What number are you calling, madam?Mrs. Stevenson: (desperately) You’ve got to hear me. Oh, please. You’ve got to help me. There’s someone in this house. Someone who’s going to murder me. And you’ve got to get in touch with the—(Click of receiver being put down in Mrs. Stevenson’s line. Bursting out wildly.) Oh, there it is—he’s put it down—he’s put down the extension—he’s com- ing—(She screams.) He’s coming up the stairs—(hoarsely) Give me the Police Department—(screaming) The police!Operator: Ringing the Police Department. (Phone is rung. We hear sound of a train beginning to fade in. On second ring, Mrs. Stevenson screams again, but roaring of train drowns out her voice. For a few seconds we hear nothing but roaring of train, then dying away, phone at police headquarters ringing.)Duffy. Police Department. Precinct 43. Duffy speaking. (pause) Police Department. Duffy speaking.George. Sorry, wrong number. (hangs up)TASK 7 Getting the Chill Arrange the movies in the Chill Factor Chart according to how they pow-erfully affect you: suspenseful, frightening, horrifying, terrifying. CHILL FACTOR CHART Movie EffectThe ConjuringYou’re NextThe ExorcistInsidiousAnaconda suspensefulDescribe a time when you’ve experienced something frightening or suspenseful. 251
TASK 8 Crossing DifficultiesGive the meaning of the underlined words in these sentences. Choose your an-swers from the synonyms in the box. 1. Mrs. Stevenson is identified as a querulous and self-centered neurotic. 2. She became imperious when she could not connect to the number she dialled. 3. When she dialed again, she only got a bland buzzing signal and heard the conversation on the cross line. 4. The telephone operator’s failed attempts to connect to her husband’s office number unnerved her. 5. She gave a highhanded reply when she sensed Sgt. Duffy did not take action on her complaint.TASK 9 Tuning In a. Listen to the radio play as you read the text excerpt. b. Notice the delivery of the lines, the tone of voice of the characters, and the sound effects used.TASK 10 Delving DeeperForm groups of ten and work on any of the given tasks below. A. Tracking events Arrange the events according to their occurrence in the play. Enter your answer in the box, then explain the acceptability of your arrangement 1. 2. 3. 4. 5. a. She accidentally overheard a conversation between two men planning a murder. b. Desperate to prevent the crime, she began a series of calls--to the operator, to the police, and others. 252
c. Mrs. Stevenson is an invalid confined to her bed and her only life- line was the telephone. d. One night, while she was waiting for her husband to return home, she picked up the phone and called his office. e. Her conversation with Sgt. Duffy made her realize the descrip- tion of the crime scene and victim.B. Discovering traits Describe the characters by putting traits on the strands.Mrs. Stenvenson Sgt. Duffy C. Gathering leads to suspense Based on the script, point out the parts in the play that help build tension, including the pace. D. Releasing features Focus on the features of a one-act radio play--delivery of the lines, the tone of voice of the characters, and the sound effects used. Explain their importance to the play.TASK 11 Firming Up Answer the following questions: a. Which parts of the story can you find heightened tension and suspense? What is its effect on you? b. Was Mrs. Stevenson able to connect to get help? How? c. Would you be willing enough to face danger just to help somebody in trouble? Explain your answer. 253
TASK 12 Sounding Words Correctly In performing a radio play, the voice carries the tone and emotion of thecharacters. Hence, it is important that words have to be sounded correctly. a. These are some critical vowel sounds. Pronounce the words correctly[a] [æ] [e] [∑]art, arc, clam, at, ask, accent, age, acre, alias, ebb, elbow,guardian, attic, badge, fame, jade, says, bread,sardine, father, gas, patch, matrix, chaos, weather,hard, olive, hang, bache- atrium, maze, weapon, peas-lobby, bond, lor, cabin, lass, pathos ant, meant,barter, locket baffle, ash heavy, steady send, check, pepper b. Practicing the sounds Work in four groups. Each group must work on one short vowel sound, then present the output to the class.Group 1. [e] The agent was able to close the deal.A sailboat waits on the bay.A plate of bacon and eggs is on the table.Group 2. [∑] Eddy and Eli are best friends forever.Many peasants are ready to fill the land.It’s festive weather for a picnic in the meadow.Group 3. [æ] The captain is a bachelor.The land map was accurate.He brought ham and apples.Group 4. [a] The office staff waited at the lobby.She won a carpet at the lottery.The doll had a lovely locket.He offered us sardines with olives. 254
TASK 13 Enjoying My Passion People engage in different activities to keep them involved in the com-munity and at the same time help others. Do you do this, too?a. Read the sentences below and answer the questions that follow. 1. Studying and excelling in many extra-curricular programs and my church youth group have given me many opportunities to improve my school as well as help the community. 2. Some activities that make me happy are doing volunteer work and pur- suing my career. 3. I am confident in saying that I am well-adapted and prepared to succeed and be involved in the community. 4. I enjoyed volunteering at the Parish Rest House, making beds, cleaning windows, and mopping floors. 5. My passion, helping people, gives me satisfaction.Processing: 1. What do you notice about the underlined words? 2. What do you call a word derived from a verb? 3. What name do we give to a verbal ending in –ing used as a noun? 4. How is a gerund used in each sentence?KEY POINTSA gerund is usually defined as a word ending in –ing that is formedfrom a verb and that functions as a noun specifically used as a subject,a subjective complement, an object of the preposition, a direct object,and an appositive.Examples:Subject: Exercising is good for our health.Subjective complement: Lyka’s favorite exercise is jogging.Object of a preposition: Merla keeps herself in good shape by dancing.Direct object: Lester does boxing in the gym twice a week.Appositive: My only exercise, walking, is not taxing. 255
B. Giving it a try.Study the paragraph. Identify the use of the underlined gerunds by choosing theletter of your answer from the box.A. Subject D. Direct objectB. Subjective complement E. AppositiveC. Object of a preposition Helping people is a responsibility of every citizen, I believe. And I used tohelp everyone I could. I enjoyed the feeling I got when I reversed a stranger’sawful day and turned it into something good. I’ve learned better since then. Don’tget me wrong; I still agree with and practice the concept, but I’m much moreadept at it now that I have gained experience. Even though I was the rescuer,it seemed like I always had to pay a personal price for being kind to people.After suffering much heartache, embarrassing episodes, and personal loss, I’velearned that giving help to my fellow human beings can be a risky endeavour ifnot approached correctly.C. Honing skillsWrite the gerunds. Then, explain its use in each sentence. 1. Helping a friend is an automatic yes in your book. 2. Helping others with a favour is dangerous and should be avoided. 3. When it comes to helping, ultimately, it’s not even about expecting money or just helping friends out. 4. Take time getting used to refusing people’s requests. 5. Although simple, it is similar to the rules that prevent people from bump- ing into others in the streets. 6. Won’t people see you as a jerk in refusing to help them? 7. Individuals may even get mad for saying no to them. 8. You can boil this down as the difference of needing vs. wanting help. 9. One way to deal with this is by giving your closest friends and family a higher priority. 10. You can’t stand still watching others in need, but at the same time you can’t assist everyone to your own detriment. 256
D. Mastering it!Work with a partner. Convert the following verbs to gerund and constructsentences using its varied functions.1. run 6. beat2. buy 7. sit3. sell 8. let4. ask 9. see5. wait 10. cookE. Describing a photo: Pair workShare a picture with your partner and talk about it using a gerund.Example: I remember taking this picture. It was a weekend in July. Myfamily was at the beach. I remember asking my sister to take thepicture quickly because the sun was in my eyes. It was a beautiful,sunny day.YOUR DISCOVERY TASKSTASK 14. Getting into the World of Laughter and TearsA. Agreeing-DisagreeingPut a check mark ✔ if you agree with the statement; X if you disagree. Explainyour answer to a partner. 1. Theater is the same as theatre. 2. Drama is different from a play. 3. A script is the written conversation in a play. 4. A change in time is one scene in a play. 5. A one-act play has all the elements of drama.B. Familiarizing Yourself with the stage 1. With a partner, study the stage layout. Make directions from the perspective of the actor (facing the audience) and of the audience (facing the stage). Examples: Downstage Rght (DR) Downstage Left Center (DLC) 257
TASK 15. Revisiting the Radio PlayRefer to the one-act radio play script to answer these questions: 1. Is Sorry, Wrong Number a one-act play? 2. The elements of a one-act play are found in the script. Fill-in the grid below with the needed information.Elements of one-act play Details1. Setting2. Plot and plot structure3. Character and characterization4. Conflict5. Theme6. Suspense and atmosphereTASK 16 Connecting LivesWhen do you dial a friend?You have a civic obligation to help others. Would you be willing enough to takethe risk of helping others in need? 258
Using a sheet of paper, write a paragraph on the topic: helping others at my ownrisk. Choose one from the possible situations below.Possible situations: 1. A friend is habitually absent and asks you to cover up his being hooked to computer games. 2. You witness a hit and run vehicular accident and the victim needs your help. 3. Your classmate’s cell phone was confiscated because he was watching pornography, and he wants you to help him get his cell phone. 4. Your neighbor badly needs money, but the only money you have got is your weekly allowance. 5. A close friend runs away from home and asks you to let him stay in your house. YOUR FINAL TASKTASK 17. Getting a Clear PictureDirection: Evaluate the plot summary according to/against the guidelines Plot Summary/Synopsis GuidelinesMrs. Stevenson is sick and Guidelines to Writing a Good Plot Summaryconfined to her bed. Her onlylifeline is the telephone. One 1. The time and place should be indicated atnight, while waiting for her the beginning of the synopsis.husband to return home, sheimpatiently tries to locate 2. A brief description of the main charac-him. She picks up the phone ters should be given as they appear in theand accidentally overhears story.a conversation through across-line, between two men 3. The synopsis should begin at the openingplanning to murder a woman of the story and told in the same order aswho lives near a bridge on the play, and end at the play’s conclusion.Second Avenue at 11:15 atnight on that day. She begins 4. Dramatic scenes that propel the story for-a series of calls--to the opera- ward, including climatic scenes should betor, to the police, and others, described within the synopsis.desperate to prevent thecrime. 5. The synopsis must be no longer than 250 words long. 6. The story must be told in the present tense and in the third person. 7. When telling the story, dialogue should not be included. The story should be related in an informal way. 259
Processing: Give your reasons for following the guidelines on writing a synopsis. MY TREASURE http://www.searchquotes.com/quotes/about/Helpfulness/Complete each clause in your notebook.Summing up what I learned in my journey through this lesson, it enables me to________________________________________________________________________________________________________________________________________________________________________________________________________________________It made me realize that __________________________________________________________________________________________________________________________________________________________________________________________________I therefore commit to ___________________________________________________________________________________________________________________________________________________________________________________________________ 260
LESSON 2MAKING A DIFFERENCE YOUR JOURNEY In many ways your life has been made easier and more efficient with technology that enables you to keep in touch. With just a click of a button (or a mouse) you have email, Facebook, Twitter, blogs, online fora, list-servs and threads, virtual reality, webcasts and webinars, instant messaging (IM), text messaging (and many other features of technology) and you are able to connect to the world. This lesson allows you to further explore the world and see how people make a difference in the lives of other people by making use of their time, talent, and heart. Your involvement in making connections is an enriching and empowering experience. YOUR OBJECTIVES For you to clarify the path of your journey in making valuable contributions to the world, you are expected to: • interpret ideas presented in a poster • reflect on the message conveyed in the material viewed • analyze literature as a means of connecting to the world • produce the critical consonant sounds correctly • use gerunds and gerund phrases in expressing ways on how to shape the world • reflect on how to manage the use of ICT gadgets without deviating from human interaction • recognize the structures and types of stages for stage plays • finalize content of plot synopsis • enhance the experience through the library’s information sources 261
YOUR INITIAL TASKSTask 1 Promoting AdvocacyStudy the poster and evaluate its message. What is in the poster that would makeyou accept the invitation to join the conference? http://www.youthmakingadifference.ca/conference/conference2012/poster/Task 2 Messaging Electronically1. Why do you use a computer? Why do you create a Facebook account?2. Give other examples of the latest gadgets for messaging. 262
Task 3 Emulating Accomplished People Some people do ordinary things that produce amazing results, making themdifferent from the rest. One of them is Bill Gates whose curiosity led to a revo-lutionized information technology. Prepare yourselves for a Power Point presentation. Take note of the infor-mation that will complete the grid below. Personalities Nationality AdvocacyMelinda Gates AmericanGhalib Khalil Educate street children through a pushEfren Peñaflorida cart classroom.Mark HymanArnel Pineda FilipinoEvans WadongoNarayanan KrishnanJulia ‘Butterfly’ HillA. Be able to explain the significance of the material shown. 1. What qualities make these people extraordinary? 2. What has prompted them to make a difference in other people’s lives? 3. What impact have they made on the people around them? 4. Simple people like Arnel Pineda, Efren Peñaflorida, and Ghalib Khalil have become extraordinary. Does it mean you can also be an extraordinary person? Explain.B. What have you realized? You have learned about these extraordinary people’s advocacies that made a significant impact on others. This time write your reflections on these on a ½ sheet of paper. 263
Task 4 Considering Options I’ve got a cell phone, email, and voice mail. But why am I so lonely?1. This man has all the modern gadgets, yet he is still lonely. Why do you think this is so?2. What general truth in life is being depicted?Task 5 Figuring It OutMatch the italicized words in Column A with their meanings in Column B. Writethe number of your answer in the magic square. AB CD EF A B a. hindrance1. Evidently, the untethered electronic voice is preferable to human contact.2. The driver shushed us because he could not hear b. one who opposes the person on the other end of his cell phone technological change3. Every advance in communications technology is a c. unlimited resources orsetback to the intimacy of human interaction endurance4. I am no Luddite. I own a cellphone, an ATM card, d. ordered to be silent and an email account.5. The communications revolution makes us stop e. shrink in fear talking to one another. This makes me cringe.6. I’ve put myself on technology restriction: no f. limit instant messaging to people near me. g. to wish or long for264
YOUR TEXTTask 6 Stimulating Responsibilitiesa. Work in four groups and read the selection that follows.b. Formulate questions and try to answer each.c. For each question and answer given, the group gains a smiley that is to be entered in the score board.d. The group with the most entries or has the highest score is the winner.Score board for the group activity Groups\Scores Questions Answer Total (Scores) (Scores) Score1234 For Conversation, Press # 1 by Michael Alvear A funny thing happened in the way to communications revolution: westopped talking to one another. I was walking in the park with a friend recently, and his cell phonerang, interrupting our conversation. There we were, walking and talkingon a beautiful sunny day and—poof! ---I became invisible, absent from theconversation because of a gadget designed to make communication easier. The park was filled with people talking on their cell phones. They werepassing other people without looking at them, saying hello, noticing theirbabies or stopping to pet their puppies. Evidently, the untethered electronicvoice is preferable to human contact. The telephone used to connect you to the absent. Now it makes peoplesitting next to you feel absent. 265
Why is it that the more connected we get, the more disconnected I feel? Every advance in communications technology is a setback to the intimacy of human interaction. With e-mail and instant messaging over the Internet, we can now communicate without seeing or talking to one another. In making deposit at the bank, you can just insert your card into the ATM. With voice mail, you can conduct entire conversations without ever reaching anyone. If my mom has a question, I just leave the answer on her machine. As almost every conceivable contact between human beings gets auto- mated, the alienation index goes up. I am no Luddite. I own a cell phone, an ATM card, a voice-mail system, and an e-mail account. Giving them up isn’t an option---they’re great for what they’re intended to do. It’s their unintended consequences that make me cringe. So I’ve put myself on technology restriction: no instant messaging with people who live near me, no cell-phoning in the presence of friends, no letting the voice mail pick up when I’m home. Readers Digest, pp. 143-145, July 2000Task 7 Understanding the TextChoose the correct answer to each item.1. The author’s purpose in writing the article is to make us realize that ________. a. communications technology is interfering with human contact b. people are communicating less than they did in the past c. the advances in communications technology are unnecessary d. people are forgetting how to communicate with others2. The question “Why is it that the more connected we get, the more discon- nected I feel?” _____________. a. reveals the author’s confusion about technology b. invites the reader to disagree with the author c. highlights the author’s examples and arguments d. challenges the reader to find answers to problems 266
3. The author’s tone throughout the selection is _________.a. amusement c. hostilityb. criticism d. indifference4. The third and fourth paragraphs give emphasis on how a cell phone ______.a. provides convenience c. isolates peopleb. threatens safety d. efficiently works5. The idea that bothers the author most about the effect of communications technology on his life is _______________. a. limited communication with strangers b. lack of social formula c. extreme preference for cell phones d. deviation from meaningful interactionTask 8 Enriching Your Experience1. Go back to the text For Conversation, Press # 1. Aside from the communications My Reflections technology cited by the author, what other technological advances in commu- nication deviate from human interaction? Reflect on the author’s concern and how you use your ICT gadgets without neglecting human interaction. Write your reflections in your notebook.2. Form five groups to work on the activities below.Group 1 - ActorsIn a role play, show the proper etiquette when using a cell phone and telephone.(How should we deal with a phone call or text message when we are talking withsomeone?) 267
Group 2 - DancersThrough a dance, interpret a song that discusses the author’s desire to havehuman contact rather than the use of technology in communication.Group 3 - MathematiciansMake a computation of how much your weekly expenses allotted for load andphone bills amount to. Think of how you can still use the technology but lessenthe expenses.Group 4 - ResearchersList the advantages and disadvantages of communications technology. Use thechart below. Unit Communications Technology DisadvantagesTelephone AdvantagesCell phoneFax machineE-mailVoice mailGroup 5 - SingersCompose a jingle about communications technology highlighting its importancebut not losing interaction with others, then sing it. 268
Task 9 Recalling Events: Throwback Mode1. Volunteer students read parts of the play. Find out the reason for the character’s actions – their motivation.2. Listen to the characters read their parts on the radio conversations. Note: The teacher stops the student who is reading, asks some questions, and the student will answer in character. Questions for: a. Mrs. Stevenson Why are you so arrogant and irritable? b. Sgt. Duffy Why did you not send some policemen to Mrs. Stevenson’s area to verify her statements? c. Operator Why do you seem to be cool and patient with irate callers? d. George Why did you have to kill Mrs. Stevenson?Task 10 Delving DeeperWorking in six groups, read the remaining parts of a one-act radio play and beready to do your task.Group 1 - Third operatorFor whom is Mrs. Stevenson’s call?Group 2 - Western UnionWhy should Mrs. Stevenson call Western Union?Group 3 - InformationWhat does Mrs. Stevenson want from the Information?Group 4 - Henchley HospitalWas she able to get the help from a nurse? 269
Group 5 - WomanWhat made Mrs. Stevenson so scared?Group 6 - Sgt. Duffy and GeorgeWhy should George tell Sgt. Duffy “Sorry, wrong number”?Task 11 Firming Up1. What makes the story suspenseful?2. Why is Mrs. Stevenson not able to get help?3. Mrs. Stevenson has already sensed that she is the woman to be murdered. What would you do if you were in her place?4. What is the most interesting thing you learned about the play?5. How could you be of help to people in danger like Mrs. Stevenson?Task 12 Enriching Your ExperienceForm five groups to work on the activities below.A. Tracking Emotions With a partner, create a line graph illustrating the rise and fall of a reader’s emotion from the beginning up to the end of the play.B. A Scene After As the play ends, George answers the phone, “Sorry, wrong number.” Make a different ending by writing a script for this scene and act it out.C. Dance Mania Choreograph a dance that interprets the message of the play using a song that fits it.D. Vote a Quote List quotations from established literary authors, or proverbs, or well- known sayings which would be engraved on your tombstone (epitaph). It should express a key feature of your own personality.E. Sketch a scene Draw a picture of the area where Mrs. Stevenson lives. 270
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